In today’s blog, we’re continuing with Part 4 of the Behind The Edit series with Richard & Colleen Halsey, ACE. If you haven’t checked out the YouTube version of this part, check it out here below:

Reading The Room.

My biggest takeaway from this interview was the topic of “Reading The Room”. I want to really dig into this topic because even though it was just a small part of the conversation, I strongly believe that this skill is what separates Great Assistant Editors from Good Assistant Editors.

I asked the question, “Dealing with a lot of conflicts & ideas that come up, how do you deal with tough personalities? And how do you develop a ‘thick skin’ or speak up when you find something that’s inevitably going to change the film?”

I love what Richard & Colleen answers to this: “It’s tricky.” Because it is, this is not an easy question to answer because there are a lot of variables at play here. Being able to fully understand the situation you’re in, in a second’s notice, and act accordingly is “Reading The Room”. Take a look at the two examples below to see what I mean:

• Situation A: You’re an Assistant Editor taking notes in the editing room with the Editor and Director, they sometimes ask you what your opinion is of the cut. Director shares fun stories from set of what happened during that day, maybe crack a joke or two. Stress is low, room is calm, and relaxed.

• Situation B: Producers, Showrunner, Director are all in the editing room with a deadline coming up to send to the Network. Everyone’s focused and chiming in on the cut, Editor is in the hot seat fielding everyone’s requests. It’s crunch-time, 4th quarter with 2 minutes left in the game. You can sense the stress in the air.

You’re going to act very differently from Situation A than from Situation B - it’s imperative that you do. You cannot interfere with the Quarterback with 2 minutes left in the 4th quarter when you’re down 7 points. It’s not appropriate to do so. Now there may be times where it will be difficult to decipher what situation you’re in and this is why this skill is important to master. Not all of them will be clear like I have it above so you have to do your best to always be aware of what the room you’re walking into.

Have Opinions Ready.

Let’s dive into Situation B more deeply because this is where I find most newbie Assistants or Post-PA’s get it wrong. Whenever I walk into a room like Situation B, I’m a fly on the wall. It’s just me and my notepad taking notes with my mouth shut UNLESS it’s extremely important.

But I do one thing that helps me a lot especially in these situations because I love being a part of the creative process and being asked what my opinion of the cut is. It’s honestly my favorite part about the editing stage, sharing your thoughts with everyone. So, I write down what I think about the cut with their changes in play during their back and forth conversations. Just small quick notes because you’re obviously there to “take minutes” for your Editor so just jot down your quick comments and your reasonings behind your opinions.

This not only helps you think like an Editor and practices that simulation of working with a Director but it also keeps you engaged in the process in case a Director or Producer asks you what you think about the cut.

Beware, if you’re new to the crew, I would stray away from sharing any blunt and straightforward bad comments about changes because you haven’t earned trust with this crew yet and it can hurt you. It’s not appropriate. However, if you’ve been working with them for a while, they will welcome it because they know you and want your honest opinion.

Ultimately I always find the best solution is to share 2 good comments and 1 suggestion. The Oreo Cookie Method. The reason I default to this is because it gives me a barometer of someone’s personality in how they receive notes. I pay attention to how they respond to my comments. Normally, people will appreciate this method and love your approach. So I continue doing this every time I’m called upon to give my thoughts. On the flip side, you’ll have some people that basically say, just tell me the “bad” stuff, in which you can just then tell them the suggestions. So that’s why I use the Oreo Cookie Method, it’s not only a professional way to approach note giving but it also helps me read the room further. It’s all about deciphering personalities.

Personal Anecdote.

This specific story I’m about to share is similar to Situation B with a little twist to it. I’m sharing this story because this was an instance where my preparedness comes through for me.

So, I’m in the cutting room taking notes for my Editor, and with us is the Showrunner, the Director, and one of the Producers. They’re knee deep into the notes and we have a deadline to make. It got to a point where everyone has mixed opinions on whether or not this ending scene plays better with music or without music.

No joke, it’s a good one hour of debating on the “why” and how music is crucial for this ending scene. And then another rebuttal on the reason of it being better without music. Back and forth, I’m listening to everyone’s argument and points of view.

“It’s stronger with music because it’s nostalgic for the character, it brings us back to the first scene when this music played”

“It’s better without the music because it’s distracting and we can feel the subtleties of the sensory imagery better without having music to guide us to what the character is exactly going through.”

Back and forth, over and over again… until the Director says, “Alfonso, what do you think? Music or no music?”

My eyes widened, caught on the spot, everyone turning their heads to me as if I had the right answer. I recalled immediately to what I had wrote down in my notes and it was to add music because I felt like it would help the entire episode and not the just the ending scene. So I shared that and everyone nodded. Nothing groundbreaking or any “aha moments” but I felt like it helped the Director steer the conversation to what they inevitably picked… which was to add music but to a different one than the one being discussed.

The point of this story is show that Directors will use you, whether you’re an Assistant Editor, a Post-PA, or even Intern. There’s such a thing as being “too close” to the project and they want someone with fresh eyes to tell them what’s working. And to always be prepared with your opinion whether or not they call upon you for your thoughts. Have an opinion on the film and phrase it in a way that is professional and respectful.

Reading The Room Extends To Your Post-Supervisor/Post-PA.

There will be times when you desperately need something from your Post-Supervisor or Post-PA and then there are times when things can wait. Usually, your Post-PA is available to lend a helping hand but if you notice that they are overwhelmed or extremely busy with something, read that, and come back another time.

Assistants know out of everyone how it feels to be drowning in tasks when things are needed very quickly. So have empathy and be fully aware that Post-Supervisors/Post-PAs go through the exact same thing.

Side note, I hate when Assistants think Post-PA’s are “their assistants”, please don’t think like this. Yes, they may help you but they aren’t your assistant so don’t rely on them to do YOUR tasks. Being an Assistant Editor is an overwhelming position of course, I won’t minimize the amount of tasks and responsibilities that are needed for you to complete on a regular basis. But if your plate isn’t full, you should be the one doing the task, not the Post-PA.

Post-PA’s are technically the Post-Supervisor’s assistant so they already have a lot of work thrown their way when times are busy. So anything a Post-PA does for you are complete favors. Be sure always thank them and treat them nicely!

Reading The Room Extends To Your Outside Vendors.

Remember, you are representing your Editorial Crew whenever you interact with Outside Vendors. Be on your best professional behavior and treat everyone with respect. They are also stressed with a ton of clients so thank you’s and being appreciative go a long way.

One of the best quotes I heard was from an Editor speaking at EditFest when he said, “When Vendors tell me they love working with me, I immediately know that it’s my Assistant Editor who they’re really talking about.” Be this kind of Assistant Editor. When you have Vendors complimenting you to your Producers, that’s a huge win for you and earns a lot of trust from your Producer.

So “Read The Room” in this way too, understand that there are faces and feelings behind the emails to who you’re communicating with on a regular basis.

In Conclusion.

So I hoped you got a lot out of this blog, Reading The Room is a very important skill to master and I honestly still make mistakes when attempting to read certain situations. It’s very difficult so don’t be too hard on yourself, however, learn from them so that you don’t do them again.

If you want more advice or have specific questions for me on this topic, I do 1-on-1 Mentorship Calls and we can talk specific scenarios on how to approach different situations. I’m here for it! Sign up here.

Lastly, don’t forget to follow me on social media, I’m on Instagram (@askthefonz), Twitter (@askthefonz), TikTok (@askthefonz), Facebook (@askthefonz), and LinkedIn (@askthefonz). I share Editing advice pretty regularly on there as well.

Anyway, thanks so much for checking out my blog. I hope you found something useful here, ‘til next time!

-Alfonso